Archive for ‘The Gray Area’

It seems to me that comics have undergone a complete 180 degree turn since the time I first started collecting them when I was a kid. By that I mean that nowadays it’s the stories that sell the comics more-so than the art. It could be that my appreciation of comics has matured and now I’m realizing that whether or not a comic is good is not solely decided by the art on its pages, but looking back at some of the comics that were published in the 90s I’m not entirely sure that’s accurate. Whatever the case, I think it’s definitely true that the writers of today’s comics are what brings in the readers. Perhaps even more than the characters they are writing.

But never you mind all that. It’s just lead in to what I wanted to write about this week. I got to thinking about artists and characters that are automatic buys whenever I see their books on the shelves. No questions asked. I’m talking about the ones that you buy knowing full well that the story is going to suck. I have a few. These are they…

Sam Kieth. Yes, I spelled it right. “I” before “E,” mother effers! Sam Kieth is actually a big part of the reason I got back into comics about five years ago. I, for some reason, decided I really, really needed to have a complete run of his Maxx series, which prompted me to search the back issue bins of every single comics retailer in the greater Atlanta Metro area. I eventually had to get the later issues on eBay, but on my search I learned about some other great comics that I’m still reading today. Some of his other work that I’ve collected simply because it’s his work includes My Inner Bimbo, Four Women, Wolverine vs Hulk, Legs, Batman/Lobo, another Batman book about the perils of social media and some others that I’m forgetting. Some of the writing on these is a little sketchy but the art is always beautiful.

Jim Mahfood. I love this guy’s art style so much. I even bought a sketchbook of his a while back and until very recently I hated sketchbooks and saw no value in them. I’ve since repented of that folly, I’m just using that as an example of how much I’m down for this guy. Another folly I’ve repented of because of FoodOne is the idea of Live Art. I went to a club event in Seattle that was associated with Emerald City Comic Con that featured a Live Art Jam with Jim Mahfood, David Mack, Chris Haley and others and it was AMAZING. Some random stuff of his that I’ve bought over the years includes One Page Filler Man, Stupid Ideas with Wayne Chinsang and Dave Crosland, Stupid Comics, Grrl Scouts, Kick Drum Comix and his Generation X special. His style has evolved a lot over the years (for the better in my opinion) but it’s always been great.

Kyle Baker. If you’ve been reading this column then you already know about my love for Kyle Baker’s work. I think he’s tops and I’m pretty sure I own everything he’s ever published. Oh, except for the KRS-1 comic that Marvel put out that had a Public Enemy cassette tape in a polybag. I cursed out loud in my LCS when I saw the first issue of Deadpool Max on the rack, even as I picked it up and asked the store manager to add it to my pull list.

Mike Allred. I think I mentioned it here previously, but my first memory of being floored by comic book art was when I saw the cover of Madman #1. Since then I’ve been slowly amassing a collection of Madman single issues and trades. I recently bought the collected Red Rocket 7. I bought all of his X-Force/X-Statix runs at a local convention. And I’ve been on board with iZombie since the first issue. I just absolutely love the way he draws, and luckily, he seems to be pretty consistently paired with amazing writers, including himself.

As far as characters, of course there’s Devil Dinosaur. I would follow that big lug to the Savage Land and back. He’s my all-time favorite comic book character and for good reason. He once fought the Garden of Eden and won by jump-kicking it in the face.

Daredevil. I honestly can’t remember when I first decided that I loved Daredevil, but I really must because I bought Andy Diggle’s entire run, including the god-awful Reborn miniseries. I didn’t buy Shadowland, though. No thank you, sir.

Machine Man. I know exactly when I fell in love with Machine Man. It was when I found a bunch of his comics in a box at a consignment store and I read the first issue, where he saves some hikers from falling off a mountain and he just berates them the entire time for being stupid enough to fall off a mountain. I’ve since bought as many Machine Man comics as I can find including all but two of his 19 issue series started by Jack Kirby, the 2001: Space Odyssey series by Jack Kirby in which he first appeared, Machine Man 2020 in which he fights Tony Stark’s great grandson, X-51 a 90s series which I’m pretty sure I’m the only person who knows it exists, and Nextwave. I don’t have the Marvel Zombies books he stars in, though. I’m sure Luke is disappointed in me for that.

She Hulk. I actually almost forgot to add ol’ Shulkie to this list. I LOVE me some She Hulk. I think I actually do own all of her comics, with very few exceptions. I at least have most every issue of every series she’s starred in. Of course I’m missing some issues in the Sensational series (because nobody on earth has all of those issues), as well as some of John Byrne’s Fantastic Four run, and three issues from her original Savage series. Other than that, though, I’m pretty sure I’ve got every comic book with “She Hulk” in the title. If you’ve never read any She Hulk comics before, I highly recommend you go and read Dan Slott’s run. It’s just absolutely stellar and probably the most fun I’ve ever had reading anything.

There’s a few other characters and artists that I gots mad love for, but those are the big ones, right there. The ones I rearrange my budget for when I see they have a new book coming out. What about you guys? Who are your “must buy no matter what” artists and characters?

Gotham Central. I know you haven’t read it. That’s ok, I’m not accusing you of being a bad person or anything. I just think you should read it. DC just put out the first of three volumes collecting the entire series and volume one collects the first ten issues. Let me tell you, they are ten of the very best issues of comics I’ve ever read. I just finished reading. Just now. To be honest, I didn’t know what I was going to write about for this week’s column. I actually was going to try and get away with not writing anything at all (sorry, Luke). But then I read Gotham Central and I decided that convincing you to read it was the right thing to do. If you borrow a copy from your local library it won’t cost you a thing (unless you keep it for too long). So go get it.

Hey, all. I’m running a little behind, but it’s for a good reason. I’ve been writing a bunch of new songs for a secret project with my good buddy Adam WarRock and haven’t had time to think up something to write here. So, rather than post up a half-assed and poorly-written half-thought I decided to write a little bit about which new titles from DC I’m excited about.

Yeah, I know, everybody else is doing it (and doing it better) but as we’ve already established, I’m a popularist. So here goes. First and foremost, Action Comics by Grant Morrison and Rags Morales. That cover art looks amazing and, seriously, art is the only thing that could go wrong in a Superman comic written by Grant Morrison. Good thing, then, that’s taken care of.

OMAC by Keith Giffen has the potential to be super fantastic. What really has me stoked about this one is that it’s going to be a book about Jack Kirby’s original OMAC and not the Greg Rucka imagining of it (which was also pretty great, but in a vastly different way). I’ve read a little bit of the original Kirby OMAC books and if Mr. Giffen can somehow capture that energy this will be the best ever.

Justice League Dark also has amazing potential and Peter Milligan is a writer who is rad. I’ll be paying attention to this one for Zatanna (that just has to be her in the fishnets on the cover) and because Mr. Milligan wrote the X-Statix/X-Force books. The only way it could be better is if Klarion the Witch Boy shows up, which he totally could.

I think the only other one that I’m really looking forward to is Mr. Terrific. This one I’m a bit nervous about. I don’t really know all that much about Mr. Terrific other than that he has the letter T painted on his face and a jacket that says “Terrific.” My biggest worries about this series are the fact that I’ve seen nothing but terrible reviews of Eric Wallace’s Titan’s series and that Mr. Terrific’s jacket might not be in the series. I really like that jacket.

There are a few other series that I’m curious about, like the books that Scott Snyder and Jeff Lemire are writing. I really dig those dudes. We’ll see how my list evolves over time.

Do you remember the very first article I ever posted on this site? I do. It was a mostly forgettable little wordpile and the only reason I bring it up is because in the third paragraph from the bottom I wrote these words:

“The recent change in Batman’s status quo seems like it’s going to stick. No take backs. From now on there’s going to be a whole lot of guys called Batman. That’s just how it’s going to be. Of course, there can only be one Bruce Wayne, but the management at DC would have to be really dense and pretty goddamn stubborn to take the cape and cowl away from Dick Grayson.”

I tell you what, you guys. I feel like a real grade-A heel right about now.

As I’m sure many of you are aware of by now, DC announced today their plans for the future of the Batman series of titles with regard to September’s big relaunch. I realize I’m just a little speck about the size of Mickey Rooney in the grand scheme of the world of comics blogging, which itself is another tiny speck in the world of comics journalism, but I couldn’t help reading today’s announcement in the tune of Cee Lo’s “F*ck You,” as if DC editorial was singing directly to me.

Because everyone else is doing it and I’m desperate to be popular, I’m going to tell you what I think about the DC relaunch. I’m not quite cautiously optimistic; it’s more like hopeful skepticism. I really, really want DC to make some good comics as a result of this, not only because they were already making some great comics, but because I like good comics. One in particular that I’m looking forward to is Mr. Terrific. Because who doesn’t want to read about a guy so confident he wears a jacket with his nickname airbrushed on the sleeves? Seriously, I think he’s awesome.

Another title I’m anxious for is Batgirl, because even though I love the hell out of Bryan Q. Miller’s current run Batgirl, I truly believe Gail Simone will write some really good comics. So far, however, this is about the only genuine bright side I’ve seen come out of the relaunch announcement. And it also brings to the forefront a whole slew of other issues that are intrinsic in an editorial decision like this. First among them is the fact that DC is killing a whole crap-ton of good comics in an effort to curtail their output of bad ones.

Spinning right out of that concern is the fact that these great series are being stripped of their creative teams. Honestly, there’s not a whole lot of writers at DC that I get super excited about, and the ones that I do get excited about are being taken off the books that I love them for. Not to say they won’t make good comics on whatever titles they end up doing but, is it really necessary?

You know what? Maybe it is. Maybe DC decided that rather than have Paul Dini write a really fun Zatanna comic that doesn’t sell all that well, they’d put him on a book with a higher profile character that will sell better, while at the same time making that comic fun and good. That makes sense. I get that.

What I don’t get is why Dick Grayson can’t be Batman anymore. I mean, I do get it. I do. People want Bruce Wayne to be Batman. I get that. But here’s the thing about that: he is.

More than upset and full of nerd-rage this particular decision makes me sad. It makes me think about Thor: The Mighty Avenger and Deadpool Max getting cancelled. I guess it was naive of me to think that any change would be lasting, but that’s really shitty, you guys. It’s really, really sad.

It all boils down to what I like to call the Morrison-Straczynski Effect. This scientific principle posits that any comic book series written for an extended period of time by either Grant Morrison or JMS will be rebooted within a year of them leaving the title, effectively undoing all the changes either creator implemented during their run. Here is the evidence I’ve compiled to support my theory: 1) Spider-Man: One More Day 2) New X-Men 3) Thor and now 4) Batman 5) Superman and 6) Wonder Woman.

I went back home to Tucson this past weekend to see my baby sister graduate from high school (which is the reason this article is going up late; sorry, Luke) and I took that opportunity to “liberate” some of my old comics from when I was in middle school. Like many comics readers in the 90s, I had mostly awful taste in comics. I’m completely guilty of buying several titles just because they were first issues (because everyone knows they’re worth more). I have two variant covers of the Mortal Kombat series by some now-defunct publisher, the first issue of Cyber Force, and first issues of Night Thrasher (both the mini series and the ongoing) to name a few. Some of the comics even had little price stickers on the bags that I handwrote after pricing them in Wizard magazine. I was investing for the future!

But all those books stayed in box. The ones that came home–aside from a few that were too terrible not to bring back (I’m looking at you, Slapstick #s 1-3!)–are the comics I really, genuinely loved as a young reader. I’m pretty sure I’m going to lose some credibility when I tell you what they were, so I’m going to hold off for a bit and tell you what my two favorite comic book stories of all time are.

My all time favorite is Chris Claremont and John Byrne’s Dark Phoenix Saga in Uncanny X-Men. I can’t remember if I owned comics before a friend gave me the trade for my 10th birthday (maybe some Archie digests from the grocery store), but I do know that none of them mattered after I read this. I won’t go into detail here about why it’s great because so many have already done it better than I ever could, but I will say that Dark Phoenix is what I compare any and every comic book story to.

My second favorite comic story of all time is the Age of Apocalypse, because if anybody who read comics in the 90s says that Age of Apocalypse is not their favorite of the decade they are either a bad person or lying (which also makes them a bad person). Again, I won’t go into detail except to say that this is what every other comic book event is trying to live up to, both sales-wise and from a storytelling standpoint.

Ok, so now that you know what my favorites are you have to admit I have decent if not impeccable taste in comics, right? Ok. So when I tell you that my third favorite comic book story of all time–the comics I rescued from a warped copy paper box in Tucson–is the Spider-Man Clone Saga, I fully expect you to lose at least a little respect for anything I have to say hence.

Maybe there are those among you who share my love of Ben Reilly and the Scarlet Spider and Kaine’s misguided though ultimately good intentions, but I suspect we are outnumbered. To be completely honest, I haven’t read these comics since I bought them in 1995 (or so) but I the way I remember them is being a whole bunch of really great ideas bundled with a whole bunch of really bad ideas. There were some super creative covers (the Peter Parker in jail for Spider-Man #57 one is one of my all time favorites), fantastic art by Sal Buscema in Spectacular and John Romita, Jr.’s guest art in adjectiveless (you may not like the Scarlet Spider as an idea, but god damn if he doesn’t look amazing when JRJR draws him). There was also Amazing Spider-Man #400 with the engraved tombstone cover in which Aunt May dies. It’s a beautifully done, emotionally resonant issue and while I’m not the biggest fan of Mark Bagley (despite my undying love of Ultimate Spider-Man) he absolutely does an outstanding job with the art.

It would later be revealed that the “Aunt May” who died was actually an actress hired by Norman Osborn to play her just to mess with Peter because, you know… comics. That’s even more disappointing because I can’t think of another issue of any comic book in which a character–any character; major, minor, bystander–dies on panel of natural causes, let alone one done so well. And there’s clones all over that sumbitch. That’s right. Aunt May dies surrounded by clones of her nephew.

Let us never forget.

I mean, there’s got to be a reason Marvel is republishing the entire thing in six Ultimate Collection style trades this year. And it’s going to be followed by another trade republishing the Original Clone Saga from way back around when Gwen Stacy died. Personally, I plan to troll the depths of as many dollar and fifty-cent bins as I can find for the issues I’m missing. It’s the journey, not the destination, after all. Any way you slice it, however, there’s never been a better time to love clones.

If you’ve never read it, I encourage you to see why everybody hates it so much. If you have read it, I encourage you to go back through it and try to find the good in it. It’s in there, I promise.

I am a bitter and grizzled old man. I’m set in my ways and stubborn and I want things the way I want them and the way they’ve always been. Change doesn’t just scare me; change enrages me and causes me to post nasty comments in forums and cancel subscriptions to comics I’ve bought for years. Or worse: change makes me completely ignore a really really good comic book that I might enjoy, causing it to languish in poor-sales-purgatory until it is eventually cancelled. Can you guess my name? My name is…… ALL OF US!!!!!

DUN-DUN-DUUUUNNNNNNNNN!!!!!!!

(Thunder crashes and lightning casts ominous shadows!)

Seriously, guys. What’s the deal? Why do we uniformly ignore new takes on our favorite characters even when they’re really really good? I’m seriously asking you this question because I don’t know the answer. Is it because they’re “out of continuity?” Is continuity that important? Does the idea that things that happen in comic books “matter” to future issues mean anything? At all? Really?

It’s become cliche to talk about now, but let’s take a moment to consider that there is a thing called “event fatigue.” There is a coined phrase currently in use in popular culture that describes how sick and tired we all are of comic books that exist solely to affect the continuity of a shared universe of comic book titles. And when a comic book comes out that does the exact opposite they are straight up ignored. Yes. I am still bitter about Thor: The Mighty Avenger being cancelled. And now Deadpool Max is ending at issue 12 instead of being an ongoing series. Are you kidding me, guys?! I’m so mad at us right now.

Deadpool Max is seriously one of the most inventive takes on the Marvel Universe that I’ve ever seen. It basically takes the idea of the superhero and turns it into Spy vs Spy and if that doesn’t sound awesome to you then we can never be friends. It’s ingenious and the world will be a worse place when they stop publishing it. And Thor: The Mighty Avenger is my favorite comic book of 2009 and 2010. I gave my 8 year old brother both trades and my 26 year old brother all the single issues for Christmas last year and they both loved it. It is the perfect comic book. Except that it doesn’t exist anymore.

It’s crazy to me that the reason these books and books like them fail is because they exist outside of the established canon. They “aren’t real.” That’s the stupidest thing I’ve ever heard ever. “This story about a Viking god who comes to Earth to hit things with a hammer isn’t as real as this other story about a Viking god who comes to Earth to hit things with a hammer.” Do you hear that? That’s the sound of every cell in my body facepalming.

I even saw comments in some forums that said Kyle Baker’s art in Deadpool Max is what kept them from enjoying the book. One comment said Kyle Baker’s Deadpool doesn’t look like Deadpool. That’s the second stupidest thing I’ve ever heard ever. The only logical explanation I can muster is Rob Liefeld himself is covertly infiltrating message boards to sully the reputations of every other Deadpool artist. Kyle Baker is an angel from heaven and has never done art that was not objectively amazing and if you disagree with me you are wrong. This is not a matter of opinion. You cannot argue this point and if you try I will push you down the nearest set of stairs. Not really. But seriously, find me an example of Kyle Baker art that isn’t amazing and I’ll give you five dollars. Straight up. I’m not joking.

The exception that proves the rule is, of course, Ultimate Spider-Man. But keep in mind, Ultimate Spider-Man came fully packaged with a whole other universe of continuity and crossovers and has had several event comic tie-ins over the course of its undeniably great and successful run. Also keep in mind that the absolute worst issues of that series (while not even remotely approaching “bad”) were the ones that were bogged down with continuity and event tie-ins.

Look, I think we can all agree that none of us wants to buy a bad comic book (unless it’s hilariously bad, a la Batman: Odyssey or The Rise of Arsenal #3) but can we also agree that we’ll give chances to good ones? Even if they have absolutely no bearing on the larger picture of the universes the main books occupy? Because even though they may not affect the picture, they still benefit from ALL of the history and remain free to tell stories that matter to us.

I have read every page of every comic of the series Ultimate Spider Man. I have read every word in every word balloon. And Brian Bendis wrote every issue, so the savvy among you know that means a whole lot of word balloons. So, what am I getting at? Am I trying to impress you? Only kind of. What I really want to get across is that it is totally possible–and entirely worthwhile–to read every issue of Ultimate Spider Man.

I read the first 110 issues in trade (I think that’s volumes 1-18 or 19) for free at my local library. Every library with a halfway decent collection of comics will have it, so it shouldn’t be too hard to find without dropping the $1000+ 25 volumes of trades would cost. I happened to catch up to the series just as the original artist, Mark Bagley, was ending his record-breaking run on the series and Stuart Immonen was just beginning his run with issue 111, an issue they both drew. I’ve been buying the single issues since then.

Looking back on the series, the thing that strikes me most is just how good all of it is. It’s pretty astonishing to think that after 160 issues you can consider the whole and not find a single weak point. There’s arcs that are better than others, of course, but there wasn’t a single issue that I wasn’t completely engaged in. I have to believe that is one hundred percent a result of giving one man (Bendis) the series and the freedom to tell 160 issues’ worth of comics stories.

Another interesting thing about this series is that despite beginning in the early 2000’s and it now being 2011, only about a year has passed in-story. It makes perfect sense, but it’s weird to think about. It also shows just how skillfully paced the series is, with entire six issue arcs taking place all within a couple of hours or so in the story. What it boils down to, ultimately, is that Bendis has figured out the perfect formula for storytelling. Make no mistake, this series is formulaic as hell, but it’s so natural to the Spider Man mythos (I feel like such an asshole having typed that seriously) that it works to the utmost benefit of the story. Here is the formula: for every five bad things that happen to Peter Parker one good thing happens.

It’s genius. That one good thing makes all the difference in the world. It’s what makes Peter Parker not Matt Murdock.

Also, the series is more about Peter Parker than Spider Man. Yeah, Peter Parker is Spider Man, but you know what I mean. The most interesting parts of the story are the ones where Peter is interacting with the people around him out of costume and trying to live a normal life. He never can, which goes back to the five bad things, but it’s the attempt that makes the character seem real. He wants the same things we want. He does what we would do in his situation. No, that’s not quite right. He does what we hope we would do in his situation. That’s what makes Peter Parker the perfect comic book character.

And Brian Bendis does such a great job over these 160 issues of retelling classic stories or mashing up new ones and old ones or just completely creating new situations that this version of Spider Man, for me, is the definitive one. Of course, it’s not the real Spider Man. But if someone were to ask me what my favorite Spider Man story is, I guarantee it’s going to be something from out of Ultimate Spider Man.

I was supposed to post this on Monday, but after the weekend I had, there was just no way. So, now it’s Thursday and I’m going to give you the abridged version of the article I had planned to write. Here is the crux of it:

Make friends who read comics because it will save you money. Borrow the living hell out of their collection, thereby alleviating the necessity for you to buy those comics. For the obsessive collectors among you who can’t stand to not own everything, I understand. I really do. I am one of you. But get the hell over yourself. Borrow your friends’ comics. Lend them yours. It’ll be good. I promise.

So, my main man Luke asked me to write up some comics reviews for his site to post today (Monday). Instead I’m going to be talking a bit about the nature of fiction and sequential storytelling and it probably won’t be going up until Monday night at the very earliest (Sorry, Luke). I guess this could be considered a review of the latest issue of Jason Aaron’s Scalped, issue number 48, but if I’m being completely honest “review” is going to be a bit of a stretch.

Comic books really are a unique form of fiction, not only because of the fanaticism they inspire in their fans (although other genres like SF and fantasy fiction do as well) but because the progressive nature inherent in serialized storytelling. Only recently, it seems, have other genres really begun to take advantage of the idea of telling a whole story in multiple pieces. There have been notable multivolume books (Lord of the Rings, Dune, etc) but in recent years it seems as though every fantasy/SF book is part of a trilogy. Even so, this still does not put them on the same scale as comic books, in which stories evolve and adapt and take place over decades and multiple creative teams and visions. Man, this is sounding really pretentious. Sorry, guys. I’m a librarian who was an English major.

Anyways, I read the latest issue of Scalped, which came out this week and it raised a couple of questions in my mind about character progression, story progression and how they interact both because of and in spite of each other. Specifically, it made me think about what the reader wants to happen and what actually happens in a story.

Scalped, for those unwashed non-readers among you, is a comic book series that follows the lives of certain residents of the Prairie Rose Native American Reservation. There are no happy endings–nor beginnings or middles, for that matter–to be read here. It’s a story of unhappy people finding new and more complicated and ingenious ways to make each other even more unhappy. And sometimes dead.

It is amazing and you should be reading it.

Scalped’s main character (maybe protagonist, though the series seems to only have antagonists) is Dashiell Bad Horse of the Prairie Rose Lakota Tribe Native American Reservation in South Dakota. He is a bad person. He kills people. He does hard drugs. He is in the process of betraying the people who believe in him. What makes this book both fascinating and frustrating is that Dash is supposed to be becoming a better person. He’s back on the reservation under some false pretenses after several years away and since he’s been back he’s seen and done some things that should have changed him. I thought he had changed until the moment he was given a choice in this latest issue and he made the choice he would have made on page one, panel one of the first issue.

I was heartbroken.

Looking back, however, I realize that it couldn’t have gone any other way. Dash’s defining characteristic is that he is incapable of choosing the right thing to do. Because the narrative is so agile in moving from perspective to perspective and character to character, as readers, we are privy to things to which none of the characters in the story have access. So we already know what the consequences of each of Dash’s choices will be. That’s a testament to Aaron’s ability to weave this story. As such, we know what Dash is supposed to choose. But we also know what he is going to choose, as much as it hurts us to watch him make that choice.

It’s almost like sleight of hand, the way Aaron is able to make us believe that Dash has undergone these profound, life-changing experiences only to lift the veil and show that he hasn’t changed at all. He’s been undercover the whole time, putting on a front as much to us as to Red Crow.

And here is where I make the case that this is only something comics can achieve. Is it possible for a well written book to pull the rug out from under us? Of course. Now that I think about it, Scalped is more of an argument for comics as literature than anything else. Scalped and books like The Walking Dead (which also had a new issue this week) are books that eschew the mainstream (read: big two) comics convention called “the status quo.”

The status quo is the bane of comics’ existence. It is, it could be argued, the dividing line between acceptance into the annals of American Literature and the junkyard of disposable pop art; pulp. Fuck Literature, I say. If Literature is too good to be associated with Norse gods smashing the shit out of impossibly advanced robotics in the name of American Freedom, then I want no part of it. No thank you, sir.

There are only two examples of Big Two comic books I can think of that ignore the idea of a status quo and are currently being published. These are Captain America and Batman. And Captain America is in the process of reestablishing its status quo (just in time for the movie! *gasp*). That leaves only Batman. Already a symbol of the one-man pursuit of change, Batman is one of the oldest superheroes in existence. How funny that Captain America is nearly as old and also currently in the midst undergoing a major upheaval. Things that make you go “hmmmm” (or not).

Let’s look at the major factor shared by the four titles named thus far: Batman, Captain America, Scalped, The Walking Dead. They are all written by one person over a years-long stretch. Captain America: Ed Brubaker, issues 1-50, 600-617. Scalped: Jason Aaron, issues 1-48. The Walking Dead: Robert Kirkman, issues 1-84. Batman: Grant Morrison: A whole bunch over several titles. We all know that Steve Rogers is going to be taking up the mantle of Captain America again and James Buchanan is going to be Bucky again (just look at the solicits for the title’s name change to Captain America & Bucky), but Batman is another story altogether.

The recent change in Batman’s status quo seems like it’s going to stick. No take backs. From now on there’s going to be a whole lot of guys called Batman. That’s just how it’s going to be. Of course, there can only be one Bruce Wayne, but the management at DC would have to be really dense and pretty goddamn stubborn to take the cape and cowl away from Dick Grayson. That’s a huge goddamn deal, you guys. It’s something that only “indie” comics have been able to get away with since pretty much ever. This is a real change in a comic that’s been the exact same since the 1930’s. This is the first ever Batman story ever told that couldn’t have been told by Bob Kane and Bill Finger.

I’m going to go ahead and wrap this thing up now since it’s become something I never intended it to be and also because it’s now past midnight and this was supposed to be up on Monday. Basically, what I’m trying to say is this: Think of a comic book that has changed significantly since you first started reading it. You can probably count the number of titles on one hand. That’s totally ok though because comics about men who dress up like robots don’t have to change. They’re already awesome. They’ve already outlived their creators and they’ll outlive this generation of creators as well.

The real revolution in comics is happening on the other side of the mainstream. It’s happening despite Captain America getting shot and Superman renouncing his American citizenship. It’s happening whether you’re reading it or not, and more often than not, you’re totally missing it. I don’t even know if I’m making sense anymore. I know I’ve lost track of my original point. Oh well. See you next week. Good night.